[FA Worldmusic] a post from anonymous on entrypoints, tokenism, and art

[Dmitri Vietze]

Uhhh, Todd... you forgot to tell us the formula? So BVSC is due to PBS, and 
Ceu and Angelique thanks to Starbucks. What about R&G?

----- Original Message ----- 
From: "Todd Walker" <todd at imnworld.com>
To: "Dmitri Vietze" <music at rockpaperscissors.biz>; <fa-worldmusic at folk.org>
Sent: Thursday, August 16, 2007 9:00 AM
Subject: RE: [FA Worldmusic] a post from anonymous on entrypoints, 
tokenism,and art


>
> Ah yes - just the sort of this we shoudl be getting into.
>
> First off, I like the term "world music" and much as I like the terms
> "Rock", "folk" "electronic" "metal" and the rest of it.  I will refrain 
> from
> citing the infinite specific examples, but really who cares?
>
> Also, do remember how uneducated we are as Americans - "world music" 
> offers
> a bit of clarity for most.
>
> I want to start hearing some thoughts like homeboy (or girl) below.
>
> How do we cross WORLD MUSIC into the main stream?  I have had a few
> successes but really isolated and many can't seem to put a finger on it.
> Rodrigo y Gabriela is the best example, whom many of you may know the
> recently ran for the CAA border to become movie stars.  Regardless, you 
> have
> a Mexican guitar duo who basically folded directly into a mainstream plan.
>
> Why?
>
> Why did AAA radio get so crazy on it, why did comm. radio go nuts, TV came
> along and all of a sudden you have a MEXICAN guitar duo who will probably
> sell over 250K records on their first release.  INSANE!  I personally 
> think
> they are an incredible show, but more importantly this experience 
> reinforced
> my faith that music from across the world can cross over into the 
> mainstream
> and contend with commercial rock bands.
>
> CeU and Angelique are crushing it right now thanks to Starbucks.
>
> Buena Vista thanks to PBS.
>
> There are many more examples, but this is an essential focus for us.  Of
> course I want all you ethnomusicology nerds (myself included without 
> degree)
> to know about these artists, but above and beyond I want to bring my 
> artists
> from the corners of the earth into the living rooms of people outside of 
> the
> major markets.  Not only is there brilliant music being made, but 
> culturally
> this education is imperative.
>
> What are your successes?
>
> The ideas that flow, the closer we get to a system when tours/records 
> don't
> happen once.  We can start building a foundation and structure to make 
> some
> noise in this country.
>
> violins (fade in)...cello....and now the woodwinds
>
> with respect.
>
> Todd Walker
> International Music Network
> 278 Main Street - Gloucester, MA 01930
> 978.283.2883 // 978.283.2330 fax
> www.imnworld.com <http://www.imnworld.com>
>
> Check out www.imnworld.com <http://www.imnworld.com/>  for info on all our
> artists, tour updates, news, tech riders, image downloads and more.
>
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> -----Original Message-----
> From: fa-worldmusic-bounces+todd=imnworld.com at folk.org
> [mailto:fa-worldmusic-bounces+todd=imnworld.com at folk.org]On Behalf Of
> Dmitri Vietze
> Sent: Wednesday, August 15, 2007 10:01 PM
> To: fa-worldmusic at folk.org
> Subject: [FA Worldmusic] a post from anonymous on entrypoints,
> tokenism,and art
>
>
> ----- Original Message -----
>
> So much to say and so little timeb&
>
> Dmitri has encouraged me to post my comments to this list.  My response to
> him
> was that the usual suspects intimidate me.  My own paranoia, but simply 
> put,
> my label would be layperson by comparison to you all who seem much more
> knowledgeable in this arena. So, Ibm comfy w/remaining under the radar.
> Ibm guessing though, if you donbt stand up, you donbt stand a chance.
> b Genesis
>
> Many years ago, while having a discussion with a colleague about the title
> of
> an under attended art exhibition, she pointed out that the chosen name was
> an
> obvious title for those intimate with the history of art; however, the
> obscure
> title for the general populous might not motivate them to visit w/out some
> sort of hook, or rather, context.
>
> Butb&did you know the bicycle was invented then?  Wow, that gave this 
> period
> some everyday relevance.  And, perhaps this new reference point would even
> arouse enough curiosity to inspire a visit.  A little oversimplified, but
> just
> trying to make a point.
>
> While attending a programming meeting prior to the opening of an 
> exhibition
> of
> the work of Barnett Newman, a now deceased artist that formerly created
> larger
> than life, more or less, mono-chromatic canvasses w/a stripe or so down 
> the
> middle, or positioned on some other location on the painting.  You know, 
> one
> of those artists that elicit reactions such as, b
My Kindergartner could 
> do
> that!b
 orb& b
I just donbt get it!b
 Curators and educators were
> debating about what type of tours and gallery talks to present.  Some
> historian suggested, b
Wouldnbt it be fun to just send people into the
> exhibition and then gather together after seeing the show for a
> discussion?b

> Maybe fun for them, even if modern art wasnbt their area of expertise,
> because they had the knowledge base to b
have funb
 w/reactions,
> understanding the history of art in general.  When one is intimidated, 
> such
> as
> myself, Ibm embarrassed to explore my reactions b/c what if theybre 
> wrong.
> Poor assumption on my part, Ibm aware, but as a stereotype, thatbs just
> the nature of the beast, Ibm afraid.  Coincidentally, during that show, I
> took a musician into see it.  The curator happened to be standing in the
> middle of one of the main display galleries, where every work of art was
> enormous, brightly colored, and the gestalt was magnificent and powerful.
> The
> focus for me, as well as the musician, was on the room, the installation,
> not
> just the individual works of art. Following our emotional introduction, 
> the
> curator joined us and waxed eloquently about all of it.  It was an eye
> opening
> and exciting experience for all that gravitated towards her.
>
> So, labels, hmmmm.  When convenient, they are great.  When problematic, we
> tend to reject them and b
wish they would go away.b

>
> I for one enjoy a love hate relationship with them.  When hired to 
> program,
> I
> didnbt have a clue as to what I was doing.  Oy, yet another uninformed
> producer! But, I had strong feelings about other conundrums, and they
> evolved,
> just as I did, in this baptism by fire sort of situation.  The first issue
> was
> what do I do on a b
Black Historyb
 night.  That made me cringe. There 
> were
> a series of problems with this label.  First, I hate token, thematic
> evenings
> such as that, or Womenbs History night in March, or, you get the picture.
> They donbt bother me as much if throughout the remainder of the year, a
> broad spectrum of events is presented without an air of tokenism. Also, I
> was
> told that during my predecessorsb b
Black History Nightsb
 that 
> Caucasians
> didnbt attend and neither did African Americans b/c the overall museum
> attendance reported a 1% diversity statistic. That made me angry enough to
> attempt to change that.  Long story short again, Black History night, my
> first
> one, drew the usual 1,000 visitors, rather than the previous scaled down
> 300.
> An African American friend and colleague offered, b
Donbt be smug, let me
> see you do it again, and not just once a year.b

>
> This led to questioning other types of programming.  The origins of the
> above
> mentioned, weekly series were to take a thematic approach. The themes were
> to
> highlight the museumbs exhibitions and permanent collection.  We all know
> there are an infinite number of themes in art; therefore, the programming
> had
> no boundaries.  Wouldnbt it be fun to opt for some general theme, Hearts
> and
> Flowers, if you will?  What ethnic group fits there?  Can Abba satisfy 
> that
> theme? Can the Carolina Chocolate Drops? You betcha.  But, that doesnbt
> mean
> you canbt turn around and have an American Roots night, or celebrate 
> Malian
> culture on another.
>
> I lost myself here with my own free associations, but perhaps, in
> conclusion,
> labels arenbt so much the issue, but what, when and how one uses them.
>
> Enjoy the music and the art...
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